Academic literature on the topic 'Waiata'

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Journal articles on the topic "Waiata"

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Williams, Haare. "Whakatauki." Ata: Journal of Psychotherapy Aotearoa New Zealand 16, no. 1 (October 22, 2012): 7. http://dx.doi.org/10.9791/ajpanz.2012.01.

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Smith, Ailsa. "A Mâori Sense of Place? - Taranaki Waiata Tangi and Feelings for Place." New Zealand Geographer 60, no. 1 (April 2004): 12–17. http://dx.doi.org/10.1111/j.1745-7939.2004.tb01700.x.

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Archer, John. "The Little Waiata That Ran Away: Songs from the Maori-Pakeha Cultural Interface." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 44, no. 2-3 (May 2007): 239–47. http://dx.doi.org/10.2979/jfr.2007.44.2-3.239.

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Haami, Meri. "He Whiringa Wainuku: A Weaving of Māori Genealogies in Land, Water, and Memory." Genealogy 8, no. 3 (June 26, 2024): 80. http://dx.doi.org/10.3390/genealogy8030080.

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Māori conceptualisations of ancestral environs and its connections to memory often reside in the realm of whakapapa (genealogy) having originated from Papatūānuku and Ranginui (primordial ancestors and gods), their loving embrace, and their eventual separation that carved the space for nourishing lands and waters. These stories of whakapapa were passed down intergenerationally through many Māori creative expressions, including waiata (songs), haka (posture dance), pūrākau (stories), whakataukī (proverbial sayings), ruruku (sequence of incantations), and karakia (prayers). This has resulted in a genealogically and environmentally derived Māori music theory. The disruption of settler-colonialism aimed to sever whakapapa from the memory as being reflected in our ancestral environs and within the hearts of Māori. ‘He Whiringa Wainuku’ refers to the weaving of water elements on earth and sets the imagery for decolonising the interconnections of whakapapa, land, water, and memory through Kaupapa Māori methodologies and Māori creative expressions.
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Williams, Toiroa, and Marcos Mortensen Steagall. "Mahi Whakaahua: A practice-led methodological approach into documentary filmmaking through a Kaupapa Māori Paradigm." LINK Praxis 1, no. 1 (October 1, 2023): 46–72. http://dx.doi.org/10.24135/link-praxis.v1i1.8.

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It is generally accepted practice that research writing should include a review of the methodology and methods designed to increase the chances of the discovery of new knowledge in the field of inquiry. However, in indigenous research, the over-reliance on Western paradigms and methodological frameworks can be problematic, because they do not consider the ontology and epistemology located in ancestral practices. By considering the Māori doctoral thesis: ‘Tangohia mai te taura’ (Take this rope), this article argues that a methodological approach for indigenous researchers must be extended to embrace many forms of knowledge, including Kaupapa Māori as an approach to scholarly research, informed by historical narratives, and knowledge based on oral repositories of experience that exist in indigenous waiata (songs), oriori (chants), karakia (prayers) and pūrākau (storytelling). As an extension of this, an indigenous inquiry that seeks to exhume lived experiences of injustice must also frame the genealogically connected, orally accounted experiences of communities as valued repositories of knowledge when designing a methodological approach to filmmaking.
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Emery, Tepora, Candy Cookson-Cox, and Ngāmaru Raerino. "Te Waiata a Hinetitama—Hearing the Heartsong: Whakamate i roto i a Te Arawa—A Māori suicide research project." AlterNative: An International Journal of Indigenous Peoples 11, no. 3 (September 2015): 225–39. http://dx.doi.org/10.1177/117718011501100302.

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Webber and O’Connor. "A Fire in the Belly of Hineāmaru: Using Whakapapa as a Pedagogical Tool in Education." Genealogy 3, no. 3 (July 12, 2019): 41. http://dx.doi.org/10.3390/genealogy3030041.

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The numerous iwi (tribes) and hapū (subtribes) of Te Tai Tokerau (Northland) have a long whakapapa (genealogy) of influential leaders that have made a significant impact on the Māori world and beyond. However, ruinous media narratives that focus without relent on poverty, low employment, inadequate housing, and lagging educational outcomes—particularly among Māori—continue to negatively impact the ways students from this region define their identity. This paper presents a number of strengths-based narratives—focusing on tūpuna (ancestors) from Te Tai Tokerau whakapapa—that act as counter-narratives to this rhetoric. The paper discusses how these narratives can be used as powerful pedagogical tools that enhance Te Tai Tokerau Māori students’ self-efficacy, aspiration, optimism, and cultural pride, presenting them as powerful agents of their own destiny. This paper draws on data produced from a Marsden-funded study—led by Te Tai Tokerau descendents—that has collected and re-presented multifaceted hapū/iwi-based narratives that celebrate Te Tai Tokerau distinctiveness, success, history, and identity. This wider study has examined, contextualised, and celebrated diverse characteristics recurring in Te Tai Tokerau pūrākau (genealogical stories), pepeha (tribal sayings), waiata (songs), karakia (incantations), televisual materials, and written histories.
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Buchanan, Sandra. "“Dance Me Through the Panic Till I’m Gathered Safely In”." Ata: Journal of Psychotherapy Aotearoa New Zealand 21, no. 1 (December 31, 2017): 69–84. http://dx.doi.org/10.9791/ajpanz.2017.07.

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When Leonard Cohen died in November 2016, many people the world over felt very sad and indeed bereft, at the loss of such a great artist, poet and songwriter. It felt, in Auden’s (1958) words on Freud’s death, another example of: For every day they dieamong us, those who were doing us some good, who knew it was never enough buthoped to improve a little by living. (p. 68) The title of this paper comes from Leonard’s 1984 song “Dance Me to the End of Love”, and has often seemed a powerful description of what a mother provides for her baby and what we as therapists provide to our clients. We try to help them “dance through the panic” and ultimately to feel safely gathered in — firstly with us, within the therapeutic relationship, and in due course within themselves. We provide a “promise of home”, or at least some hope for our clients that they might be able to find that individual sense of self within themselves and connection to others, which feels like “home”. Whakarāpopotonga I te matenga o Leonard Cohen i te Whiringa-a-rangi 2016, pōuri kau ana te tini te mano huri noa i te ao mōteatea kau ana i te ngarohanga atu o te tohunga tito waiata, toikupu mahi toi nei. E ai ki tā Ōtene kī (1958) i te matenga o Whoritu: Mō ia rā taki hingarō ngai tātau, rātau e whai hua nei mō tātau, mōhio tonu kore rawa i rahi engaritōminahia mā te kaiao e whakawhanake. (w. 68) I ahu mai te pane o tēnei pepa mai i te waita a Renana o te tau 1984 “Kanikanihia au ki te Mutunga o te Aroha”, ā, tērā ia e whakaarohia ana he whakaahuatanga mārohirohi o te o te āhua whakarato a te whaea i tana pēpē me tā tātau ngā kaiwhakaora hinengaro hoki ki ā tātau kiritaki. Ko tā tātau he nana ki te āwhina i a rātau, “pīkarikari i te maurirere” ā, taioreore kia tau te mauritau ki a tātau, i tō tātau whanaungatanga haumanutau tae atu ki te wā e tau ai tō rātau ake mauri. Ko tā tātau he whakarato “oati mauri tau”, he maramara wawata rānei e kitea ai e ā tātau kiritaki he kiritau, he whanaungatanga ki ētahi atu pēnei tonu i te “kāinga”.
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Alföldi, Francis. "Wahi Kōrero outil de lancement d’une conférence familiale." Forum 171, no. 1 (June 13, 2024): 49–66. http://dx.doi.org/10.3917/forum.171.0049.

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Une lecture fluide de ce texte nécessite en premier lieu de distinguer entre deux termes paraissant à priori fort semblables : whaikōrero et wahi kōrero. La présente communication porte principalement sur le wahi kōrero , un prototype original destiné aux coordinateurs de conférence familiale. Le procédé permet d’assister le lancement de la conférence familiale, à l’instant de la prise de parole par le coordinateur, au cours de la première étape appelée : partage d’information. Le prototype tire ses sources de la tradition māorie, notamment évoquée au travers de deux concepts clef : le tikanga et la géomentalité. Cet outil encore expérimental est largement inspiré du rituel māori intitulé le whaikōrero. Sont également discutés, les motifs qui contre-indiquent le transfert direct du whaikōrero au sein d’une culture autre que māorie, des motifs qui ont conduit au repérage et à l’adoption d’un autre terme : le wahi kōrero . Le prototype instrumental intègre ainsi dans sa structure, plusieurs techniques inspirées de la tradition māorie : le whakaaraara , le pepeha , le mihi , le kaupapa , le kōrero whakararata , le waiata . Chacun de ces procédés fait l’objet d’une présentation en lien avec son rôle spécifique dans le lancement de la conférence familiale. Cette communication évoque aussi les premières expérimentations du prototype sur le terrain. L’article et les concepts originaux qui en assurent le fondement sont issus des travaux d’auteurs et de chercheurs māoris ayant publié en langue anglaise ; toutes ces notions font l’objet de citations dûment référencées. Sans le savoir,
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Naoto, Nakashima, and Ken K. Ito. "Waiawa Station (1934)." Review of Japanese Culture and Society 32, no. 1 (2020): 229–53. http://dx.doi.org/10.1353/roj.2020.0003.

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Dissertations / Theses on the topic "Waiata"

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Smith, Ailsa Lorraine. "Taranaki waiata tangi and feelings for place." Lincoln University, 2001. http://hdl.handle.net/10182/2137.

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The occupation of Moutoa Gardens in 1995 highlighted efforts by Whanganui iwi to draw attention to the non-settlement of long-standing land grievances arising out of land confiscations by the Crown in New Zealand in the 1860s. Maori attitudes to land have not been well understood by successive New Zealand governments since that time, nor by many Pakeha New Zealanders. In an effort to overcome that lack of understanding, this thesis studies a particular genre of Maori composition; namely, waiata tangi or songs of lament, which contain a strong indigenous sense of place component. The waiata used in this study derive from my tribal area of Taranaki, which is linked historically and through whakapapa with Whanganui iwi. These waiata were recorded in manuscript form in the 1890s by my great-grandfather Te Kahui Kararehe, and are a good source from which to draw conclusions about the traditional nature of Maori feelings for place. Two strands run throughout this thesis. The first examines the nature of Maori feelings for place and land, which have endured through primary socialisation to the present day. By focusing upon a form of expression that reveals the attachment of Maori towards their ancestral homelands, it is hoped that the largely monocultural Pakeha majority in New Zealand will be made aware of that attachment. It is also hoped that Pakeha may be suitably informed of the consequences of colonialist intervention in the affairs of the Maori people since 1840, which have resulted in cultural deprivation and material disadvantage at the present day. In the current climate of government moves to address the problems bequeathed them by their predecessors, it is important that the settlement of land claims and waterways under the Treaty of Waitangi should proceed unhindered by misapprehension and misinformation on the part of the public at large. The second strand of my thesis concerns the waiata texts themselves, which I wish to bring to the attention of the descendants of the composers of those waiata, who may or may not know of their existence. Since so much of value has been lost to the Maori world it is important that the culturally precious items that remain should be restored as soon as possible to those to whom they rightfully belong. Key themes examined in this thesis are the nature of Maori "feelings" for place and a "sense" of place; Maori research methodologies and considerations, including Maori cosmology and genealogical lines of descent; ethical concerns and intellectual property rights; ethnographic writings from the nineteenth century which tried to make sense of Maori imagery and habits of thought; the Kahui Papers from which the waiata were drawn; and the content and imagery of the waiata themselves. I also discuss the use of hermeneutics as a methodological device for unlocking the meanings of words and references in the waiata, and present the results both from a western sense of place perspective and a Maori viewpoint based on cultural concepts and understandings.
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Tana, Junior Joseph. "Ngā puhi ki Ngāpahui: a study of Waiata from the war in the North." Thesis, University of Canterbury. Maori and Indigenous Studies, 2012. http://hdl.handle.net/10092/7676.

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Mōteatea have always been an important part of Māori society;; they are often used as a vehicle to express feelings or emotions about a certain topic and or serve as record of one or more significant events. Traditional mōteatea contain symbolism, imagery, metaphors and underlying themes which uniquely express the world views of Māori society. They are an invaluable resource for Te Reo Māori and contribute immensely to the preservation and revitalisation of Māori culture. Mōteatea enable knowledge of customs and values to be passed down through the generations and provide a personal insight into the thoughts and existence of those who have passed on. Importantly, collections of mōteatea have contributed to the continuation of Māori oral tradition. This study contains transcriptions, translations and annotations of twenty mōteatea collected from Ngāpuhi by an interpreter, Mr. Duncan during the years of the northern wars of the 1840s between sections of Ngāpuhi. These are preserved as Māori Manuscript 62 in the Sir George Grey collection of Māori manuscripts held by the Auckland City Library. The study includes, where possible, annotations that discuss the political and historical context of the early colonial period.
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Sweetman, Lauren E. "Ng? waiata o T?ne Whakapiripiri (The music of T?ne Whakapiripiri)| Cultural expression, transformation, and healing in a M?ori forensic psychiatric unit." Thesis, New York University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10243485.

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In Aotearoa New Zealand, M?ori are overrepresented in criminal and mental health contexts, comprising only 14.9% of the nation, yet over 50% of institutional populations. These figures are not unique, but represent a broader struggle to overcome the legacy of colonization affecting indigenous communities worldwide. In response to these issues, I examine the impacts of M?ori cultural expression in forensic mental health through an ethnography of the kapa haka r?p? (group) in the Kaupapa M?ori forensic psychaitric unit, Te Papak?inga O T?ne Whakapiripiri. This unit reconceptualizes Western frameworks for mental health service provision, incorporating cultural education as an integral aspect of treatment, such as M?ori performing arts (i.e., kapa haka). The unit also imbues M?ori cultural values, practices, and forms of expression into daily life, an act that transforms the experience of institutionalization for t?ngata whai i te ora (patients) and the practice of forensic mental health more broadly. In this dissertation, I first unpack the collaborative methodology developed in this research, providing a set of recommendations for a more ?codetermined? research process. I then explain the research?s broader academic and social contexts, tracing the history of M?ori music scholarship, and then the history of New Zealand?s cultural and political transformation from 1840 to the present. This culminates in an ethnography of T?ne Whakapiripiri, where I examine the impacts of the kapa haka program and the unit?s broader musical activities on t?ngata whai i te ora and the clinical environment in four domains: te taha wairua (the spirit), te taha hinengaro (the mind), te taha tinana (the body), and te taha wh?nau (the community). Overall, this research illustrates that embedding forms of cultural expression such as kapa haka into the clinical model positively impacts t?ngata whai i te ora, improving their understanding and experiences of themselves, their illnesses, and their environment. Such cultural expression also shows how a Kaupapa M?ori framework transforms the institutional environment from a Western model emphasizing individualism, hierarchy, and isolation toward a more holistic, collective, and wh?nau-centered model that holds the potential to shift our understanding of what forensic mental health is and can be.

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Black, Taiarahia. "Kāore te aroha-- : te hua o te wānanga : a thesis presented for the degree of Doctor of Philosophy in Māori Studies at Massey University, Palmerston North, Aotearoa, New Zealand." Massey University, 2000. http://hdl.handle.net/10179/1117.

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Te Ora Ē noho anā nō i te koko ko Ōhiwa, kia whakarongo rua, Aku taringa ki te Tai o tuarā e o Kanawa, E āki ana mai ki uta r o Ōhakana. Ki te whānau a Tairongo, Kai Tāuwhare rā ko te kopua-o-te ururoa, Ko te kai rāria noa mai te raweketia e te ringaringa, Me whakarangi-pūkohu e au ki Tītītangi ao ki te Te Aitanga-ā-Wheturoa, Kia whītikiria taku hope ki te maurea whiritoi, Kia noho au ki Puhi-nui tonu ki Te Maungarongo a Te Rangiāniwaniwa, Ka mawhiti tonu rā taku haere ki ngā tihi tapu ki Maungapōhatu kia Taiturakina; Kia titiro iho au ki Ruatāhuna ki Manawarū ē ko Te Aitanga-ā-Tūhoe.... Ko te hua o te wānanga o a Tūhoe kōrero tuku iho hāngai ki ana waiata tawhito te pūtake o tēnei tuhinga roa kia auhi noa mai te wairua o ngā tūtakinga kōrero kia riro ko ēnei kōrero tuku iho hei matua hikihiki, whakataratara i te hinengaro, i te wairua, e mau ai tēnei o ngā whare whakairo kōrero o te hua o te wānanga a Tūhoe. Kia kaiaohia aua kōrero ki te ura mai o te motu ki runga i ngā pae maunga o Huiarau tau iho ki a tātau e pōkai kaha nei, e tau awhi nei ki runga i te mata o tēnei whenua ātaahua. Ka paenga rā ngā tau ka kitea, ka rangona tēnā pu kōrero, tēnā whare whakairo kōrero, whakairo waiata. Mea rawa ake kua whakangaro atu ki te tira e tauwhare mai rā. Hika rawa ake, kua mawhiti kē te haere ki te mākau nui o te iwi e tīraha mai rā, tē whakaaratia! Kia rangona, kia kitea noa e tātau te mata kōrero kia eke rā ki runga, taihoa rawa ēnei taonga e ngaro, taihoa rawa nei taonga e haukotia. Ka huri whakauta ki te hua o te wānanga, ko te waiata tawhito tēnā, ko te momo rerenga kōrero i hua mai ai i roto i ngā noho tahitanga a te tangata. He kupu ēnei hei whakaata i te hinengaro, wairua, te taiao, ngā rākau, te wai, te moana, ngā whetu, te whenua, ngā pakanga, te kawa o te marae, te noho tahitanga a ngā tūākana\tāina\tuāhine. Te reo o mātua, o kuia, koroua, ngā kaipupuri i te ahi kā roa o te wā kāinga. Inā hoki ko nga āhuatanga o te tangata tēnā tōna hanga, tōna whakatipu, ōna whakaaro, tōna ngākau, tōna wairua, me ngā momo hāhi i tipu ake ai te pono, ka titiro iho te tika i te rangi ka oti nei he waiata e tipuria ai te hua o te wānanga ki roto i a tātau katoa. Waihoki ko aua waiata nei te ahi whakakā roa o te ngākau,kei kona ōna timatatanga, engari kāore nei ōna whakamutunga. Ka pikitia ake te toi huarewa kia kite noa atu i te kaha o te whakaaro. Ko te wāhanga nui ia kia hapaina tēnei tuhinga roa, hei whakaoho, hei tuku, hei tātari i ngā whiriwhiringa kōrero ā-tuhi, ā-wāha kei roto i te whare kōrero o te whānau, hapū, iwi e timata ai, e mau ai te hua o te wānanga o te whaitua whenua. Tae atu ki ngā takahanga whakaewa ka oti nei he waiata tawhito hei kaiarataki ki ngā tihi maunga o te whakaaro. Ko te kapunga whakaaro ko te whātoro, i te tātari i te kupu, ki te whakamārama i te hua o te wānanga hei tumu whakarae kōhikohi mōhiotanga ki runga, ki raro ki ngā tai timu o te hua o te wānanga. I roto i tēnei tuhinga roa ka takea mai te wānanga i te kore, i te pō, i te ao mārama e tohea ai ngā kete e toru o te wānanga hei anga tohutohu, piki tūranga whakaakoranga ki hea mai nei! Mai i roto i aua kete ka nanahu te hinengaro kōkoi o tātau tīpuna mai anō i te ao Māori. Ko te ao mārama tēnā, ko te ao whenua tēnā, ko ngā pakanga tēnā, ko ngā tinihanga ēnā, ko te apakura, ko te hakamomori ka hua nei te wānanga. Nō reira he mahi, he kaupapa nui tā tēnei tuhinga roa ki te whakakao mai i ngā waiata e mohio ana tātau hei papa kōrero, hei wānanga mā te hunga kei te piki ake i ngā takutai moana o te whakaaro, o tēnei ao e wehi mai nei ki a tātau. Kāre e mihi kei te hopo te iwi, te hunga mau i ēnei waiata ki runga i o tātau marae kei ngaro memeha noa ēnei taonga a tātau. Ae! Kei te tika tā rātau hopo. Inā hoki kua riro kē te reo whakaarorangi i te oro o te waiata i ngā tai nenehawa, whakapōrearea e hukahuka mai nei. Ahakoa tēnei kei te whakaara ake ēnei waiata i runga tonu i te kaha o tēna, o tēna ki te whakaara. Kei te tahuri nui mai te hunga rangatahi, taiohi ki ēnei waiata koia tēnei te tūmatanui o tēnei tuhinga roa, hei tāhu whakaea mo te hinengaro, mo te ngākau o aua whakatipuranga e hiahia nei rātau ki ēnei taonga. Mā te karakia hei waere te whenua, mā te taki i ngā kōrero mo ngā atuā te whakataukī, te whakapepeha ka pupuke mai te hihiri o te mahara i ō tātau tipuna kōkoi e whakakitea nei tātau i ēnei rā ki aua tohu. Ka huia rnai aua pitopito kōrero katoa hei kākahu maeneene ki roto i te kupu o te waiata tawhito, kā mau. He whakaatu tēnei tuhinga roa kei te ora tēnei o ngā momo whare pupuri kōrero i te pū; i te more, te weu me ngā pātaka iringa kōrero o te ao ō Tūhoe ō neherā, tae noa mai ki ēnei rā. Kāti he wā anō i roto i taua ora ka tōia te whakaaro ō Tūhoe, ō te Māori e tauiwi hei tinihanga māna. Engari e kitea ai i roto i tēnei tuhinga roa, ko te toki hei kaupare atu i taua tinihanga ko te kōrero i tuarātia rā: 'Hokia ki o maunga kia purea koe e ngā hau o Tāwhirimātea' Koia tēnā te kaupapa o tēnei tuhinga roa he tātari i te hānuitanga, te taiwhakatū o taua kōrero: Hokia ki o maunga... Ma taua kōrero Hokia ki o maunga ... ka rangona te mātaotao o te hua o te wānanga o te pakanga o te whenua, o ngā pikikōtuku i tukitukia, kātahi ka kōrero ai ki roto i tā Tūhoe whakatau i ana whakaaro, e taea ai te ruruku ka puea ake. Koia tēnei ko te mana i roto i ngā whakatakotoranga kōrero e mau ai te kurataininihi, te kurataiwawana o te whakaaro. He hua wānanga tēnei e whakaatungia ai e te hinengaro ngā takahanga motuhake, me te hāngai o ā rātau kupu mo ngā whakaaro e tau nei ki tēnei Ao Hurihuri. Nā ngā mahi a ō tātau tīpuna, te para i te huarahi kia takahuritia ai ngā mahi kikino o te riri Pākehā i tū ake ai ngā poropiti o aua tau kikino i rnurua ai ngā whenua, i tukua ai te iwi ki raro. I tū ake ai rātau te hunga poropiti ki te rapu i te ora i te kaupapa tōrangapū mo ngā whenua i hahanitia. Mai i ēnei kaupapa ka hau te rongo o te waiata tawhito hei tūāpapa whakaohooho, whakanekeneke i a tātau katoa, ahakoa ko wai. Whā tekau katoa ngā waiata o tēnei tuhinga roa rnai i tēnā kokona o Tūhoe, rnai i tēnā kokona o Tūhoe e kawe ana i te hua wānanga hei whakaata, hei kōwhiri i te hunga i kaha i rnau tonu te ngangahau i ngā totohe kōrero, totohe tangata, totohe whenua. I kona ka hua te wānanga ka tohea te riri ka mau, i ea ai tētahi wāhi o te mamae. Koia tēnei ko te whakaatu i te kaha o te tohe i te pō, i te awatea. Ko te kawa o te marae te ātamira whakatāhu, tuku i aua hua wānanga i nei rā e rangona ai te kōrero ā-iwi, te hī o te mita o te reo waiata hei hokinga atu ki te nohoanga o te kupu. Ko tētahi anō kaupapa o tēnei tuhinga roa he whakahoki mai anō i te rnatapihi o Matariki, kia meinga ai ki te kairangi o te kawa o te marae, ka tau ki te whenua i maringi ai te toto. Ko ēnei hua wānanga te oro o te ngākau o Te Ūrewera, te whītiki o te kī mo te tuakiri mo tēnā whakatipuranga, rno tēnā whakatipuranga. Ae! Mā te hua wānanga a Tūhoe e whakaea te mamae e puta ai te pātai. Ko wai rā au? I ahu mai taku wānanga i whea? E ahu ana au ki whea? No te rā nei kua riro mā tēnei tuhinga roa e whakaatu ētahi o ngā hau kikino i whakawhiua kirunga i te iwi e te kāwanatanga i a ia e āki mai ana mo ngā rawa a te iwi, hei tuku he tangatakē. Nō reira i tikina ai te tauparapara a Te Kapo o te Rangi hei whakatauira i te takenga mai ongā kōrero mai i te koko ki Ōhiwa ki te pō, ki te pouri, ki te ao mārama. 'Hokia ki maunga' ko te tangata, ko te iwi, ko te hapū, ko te whānau te tīmatanga o te hua o te wānanga. Koia tēnei tētahi anō kaupapa o tēnei tuhinga roa, he āhuru i aua pukenga tautōhito kōrero kia mau te rangi, kia mau te hā, kia rangona te hua wānanga, oho ake ki te ao ka oti nei he waiata tawhito hei hoa haere whakamua. Ko te kōpae o te whare tēnā e tautokona ana hoki te ahu whakamuatanga o ngā mōrehu kōrero e arohatia nei e tātau. He huarahi atu tēnei hei āwhina, hei tohu i te kei o te waka ki ngā ngaru kokoti e pukepuke rnai nei. Ko te whakapae o tēnei tuhinga roa e titikaha ai ki te hinengaro o Tūhoe me mau ana momo kōrero ki ngā momo hangarau o tēnei ao hurihuri kā tika. Kua roa ēnei taonga e ārikarika ana hei whakarei i te kupu kōrero ki te hunga mate, ki te tira e tatari rnai rā i te waharoa o te marae ki te whakaeke. Kei roto i te wairua o tēnei mahi ka tukua āianei ēnei taonga kia kore ai tātau e taka ki roto i te korekore o te hinengaro, hei whakamahi mā te tamaiti o Tūhoe e hiki ake nei i ngā pae tata, i ngā pae tawhiti. Ko tēnei tuhinga roa te kura kimihia o te ura rnai o te motu i tua atu o Huiarau. Kia hau ai te rongo o a tāitau kōrero ki mua i a tātau hei homai i te aroha kia au ai te matatū tonu, ka maranga kei runga. Kia taria te roanga o te kōrero. Ae! Me hoki rā kā tika: Kā hoki nei au ki te mauri o taku waka a Mātaatua Ko Pūtauaki ki a Ngāti Awa Ko Tāwhiuau, ko Tangiharuru Ko te rae rā o Kohi ki a Awatope Ko Mānuka tūtahi ki Whakatāne, kia Apanui Ko te mauri haria mai nei hei whakaoho i taku moe Ē kō kō ia e ara ē!
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Paparella, Daniel. "Jeremy Waits." University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619604752747105.

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Loris, Phoebe. "Hydrogeology of the Waipara alluvial basin." Thesis, University of Canterbury. Geology, 2000. http://hdl.handle.net/10092/7655.

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The Waipara alluvial basin, located 50 kilometres north of Christchurch on the South Island of New Zealand is experiencing rapid transformation in land use from pastoral farming to horticulture. In the last five years the use of the groundwater resources has increased significantly. Knowledge is lacking about the availability and sustainability of the groundwater resources. Groundwater resources can be found throughout the basin in the Quaternary Canterbury and Teviotdale Gravels, and the late Pliocene/Early Pleistocene Kowai Formation. The hydrogeological system can be described as a complex network of discrete, lithologically and hydraulically heterogeneous and aniosotropic semipermeable to permeable channels. The physical and hydraulic nature of the aquifers (or water-bearing units) makes identification and characterisation of the resources difficult. However, the resources can be distinguished in terms of the observed hydrogeologic properties (i.e. lithology, yield, transmissivity, and chemistry). Chemical and isotope sampling indicate that recharge to the basin aquifers is occurring through the uplifted and fractured Tertiary sequences formed along the eastern and western margins of the basin, and through infiltration of local rainfall in the unconfined and semi-confined portions of the aquifer. Groundwater residence times are long (20- 40+ years). Long residence times, slow recharge, and low hydraulic conductivity suggests that if the groundwater resources are not properly monitored and managed, there is great potential for 'mining' the resource(s), or in other words for depleting the resource faster than it can be recharged. Long term monitoring and management strategies have been recommended for future work to help gain more knowledge and understanding of the Waipara hydrogeological system, and ensure sustain ability for future development.
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Hayward, Shirley. "Periphyton growth in the Waipara River, North Canterbury." Thesis, University of Canterbury. Environmental Science, 2003. http://hdl.handle.net/10092/1315.

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Periphyton was monitored monthly at four sites on the Waipara River from July 1999 to January 2002. Interactions with river flows, nutrients and invertebrates were examined to determine how these factors controlled periphyton development. Comparison of the Waipara River to other New Zealand streams indicated that periphyton biomass at the uppermost site (Site 1) was generally low to moderate. Further downstream, moderate to high biomass occurred at sites 2 and 4. Biomass at Site 3 was generally low, although some very high values occurred on occasions. Periphyton biomass at sites 2 and 4 exceeded periphyton guidelines for the protection of aesthetic/recreational values at least once during each full year monitored. In contrast, the guidelines were rarely exceeded at Site 1. Dissolved inorganic nutrients were generally poor indicators of the nutrient status of the river because of plant uptake. Cellular N and P values indicated nutrient enrichment at sites 2 and 4, which correspondingly had the highest biomass values. Conductivity tended to positively correlate with temporal and spatial patterns in periphyton biomass and was useful as a surrogate indicator of nutrient supply regimes. It correlated negatively with river flows, indicating higher nutrient concentrations may occur during reduced flows. Notable differences occurred in biomass development between periods of contrasting flow regimes. In particular, annual mean and maximum biomass at the three downstream sites was considerably higher during a period of low stable flows compared to a period of higher base flows. However, at the uppermost site, differences in biomass between these periods were much less pronounced. Invertebrate densities increased significantly with increasing periphyton biomass at the three downstream sites. There was little indication that invertebrates had any major control on periphyton biomass at these sites. However, at the uppermost site, although the invertebrate densities were generally much lower than at the other sites, they are more likely to have a controlling influence on periphyton biomass. Overall, the nutrient supply regime of the Waipara River is the primary controller on biomass development. Flow regimes (both frequency of disturbance and extent of low flows) operate as secondary controls of biomass.
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Goon, DT, AL Toriola, BS Shaw, and LO Amusa. "Centripetal fat patterning in South African children." Pakistan Journal of Medical Science, 2010. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000435.

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Objectives: The waist-to-stature ratio (WSR) is newly developed index, proposed to be of greater value as a simple anthropometric indicator, for predicting abdominal obesity and related cardiovascular co-morbidities in adults and children. This study examined age and gender differences in waist-to-stature (WSR) as measure of centripetal fat patterning in a sample of children in Pretoria, South Africa.
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Griffith, Catherine Lloyd. "William Phylip, ei fywyd a'i waith." Thesis, Bangor University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340493.

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Jones, Llion. "Agweddau ar waith T.H. Parry-Willliams." Thesis, Aberystwyth University, 1993. http://hdl.handle.net/2160/4ea7783e-d881-42a3-b311-6e50a9f1fd34.

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Books on the topic "Waiata"

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Robert, Sullivan. Jazz waiata. Private Bag, Auckland: Auckland University Press, 1990.

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Rapata, Leathem Kare, ed. Waiata mai: 35 Maori songs. Auckland: Gotwit, 1991.

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Papa, Rāhui, and Pānia Papa. He kete waiata: A basket of songs. Edited by Creative New Zealand and Indigenous Corporate Solutions. Hamilton, N.Z: Project Team, 2004.

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Menzies, Trixie Te Arama, 1936- and Waiata Koa (Literary group), eds. He wai =: A song : first nation's women's writing : a Waiata Koa collection. Auckland, N.Z: Waiata Koa, 1996.

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Zhaoyan, Diao, and Xu Dingguo, eds. Waitan. Beijing Shi: Zhongguo lü you chu ban she, 2002.

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1941-, Jacobs Sally, ed. Waikato. Auckland, N.Z: Kowhai Publishing, 1998.

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Publishing, Fox Chapel. Waists & waistbands. East Petersburg, PA: Fox Chapel Publishing, 2011.

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Aṭawāla, Pharīda. Pitī waijana. Mohali-Chandigarh, India: Lokgeet Parkashan, 2019.

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Kukarpindia, Mohan Singh. Wairana walāita. Chandigarh: Lokgeet Parkashan, 2009.

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Stowers, Richard. Waikato troopers: History of the Waikato Mounted Rifles. Hamilton, N.Z: R. Stowers, 2008.

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Book chapters on the topic "Waiata"

1

Lysaght, Ruth. "16. Tell A Song/Waiata Mai/Abair Amhrán: Singing Out." In Social Media and Minority Languages, edited by Elin Haf Gruffydd Jones and Enrique Uribe-Jongbloed, 237–45. Bristol, Blue Ridge Summit: Multilingual Matters, 2013. http://dx.doi.org/10.21832/9781847699053-019.

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Raghavendra, Sujay. "Waits." In Python Testing with Selenium, 129–42. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-6249-8_10.

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Shukla, Shashank. "Waits." In Practical WebDriverIO, 191–202. Berkeley, CA: Apress, 2021. http://dx.doi.org/10.1007/978-1-4842-6661-8_7.

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Shaw, Christopher. "Waist Girth." In Encyclopedia of Behavioral Medicine, 2324–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39903-0_1342.

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Hara, Kazuo. "Waist Size." In Encyclopedia of Behavioral Medicine, 2325–26. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39903-0_432.

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Campbell, Tavis S., Jillian A. Johnson, Kristin A. Zernicke, Christopher Shaw, Kazuo Hara, Kazuo Hara, Susan Folkman, et al. "Waist Circumference." In Encyclopedia of Behavioral Medicine, 2037. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4419-1005-9_101849.

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Campbell, Tavis S., Jillian A. Johnson, Kristin A. Zernicke, Christopher Shaw, Kazuo Hara, Kazuo Hara, Susan Folkman, et al. "Waist Girth." In Encyclopedia of Behavioral Medicine, 2038–39. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4419-1005-9_1342.

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Campbell, Tavis S., Jillian A. Johnson, Kristin A. Zernicke, Christopher Shaw, Kazuo Hara, Kazuo Hara, Susan Folkman, et al. "Waist Size." In Encyclopedia of Behavioral Medicine, 2039–40. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4419-1005-9_432.

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Nahler, Gerhard. "waist circumference." In Dictionary of Pharmaceutical Medicine, 191. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-89836-9_1454.

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Shaw, Christopher. "Waist Girth." In Encyclopedia of Behavioral Medicine, 1–2. New York, NY: Springer New York, 2019. http://dx.doi.org/10.1007/978-1-4614-6439-6_1342-2.

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Conference papers on the topic "Waiata"

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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.

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This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.
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Fork, Richard L. "Multipass amplifier using a confocal resonator pair." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oam.1987.thr6.

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A multipass optical amplifier is described which makes use of the properties of a coupled pair of approximately confocal resonators. The departures of each resonator from the confocal condition, the relative orientation of the resonators, and the direction and convergence of the incident beam to be amplified can be varied to select a particular multipass arrangement. In general, these adjustments cause an incident light beam to pass alternatively through the two resonators and finally emerge after a number of traversals, which depends on the particular small departures of each resonator from the confocal condition. There are two basic configurations. In one configuration all the successive beam paths pass through one common crossing point which also coincides with the beam waists of the two resonators. In the second basic configuration, there are two spatially separated common crossing points, each of which coincides with the beam waist of one of the two resonators. A typical round trip transit time is ~2 ns. A number of variations of these basic configurations are discussed. Some allow a progressive change in the beam waist at the common crossing points, and some include dispersive elements which allow spectral filtering and group velocity dispersion correction.
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Hildebrand, Michiel, Maarten Brinkerink, Riste Gligorov, Martijn van Steenbergen, Johan Huijkman, and Johan Oomen. "Waisda?" In the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2502221.

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Williams, Toiroa. "No hea koe? De onde você é?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.g115.

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Este artigo relata uma jornada do projeto de doutorado conduzido pelo pesquisador, Tangohia mai te taura (Pegue esta Corda). O estudo envolve pesquisar, dirigir e produzir um documentário sobre as queixas históricas de Te Whakatōhea e Te Whānau ā Mokomoko. Especificamente, explora os potenciais da prática e forma documental em relação a Mātauranga Māori (costumes e conhecimento maori) e kaupapa Māori (abordagens de pesquisa maori). O estudo busca questionar certas narrativas construídas por Pākehā sobre o assassinato exoticizado do missionário, o reverendo Carl Sylvius Völkner, em 1885. Como consequência de uma acusação de assassinato, meu ancestral Mokomoko foi preso pelo crime, preso e enforcado, protestando o tempo todo por sua inocência. Em retribuição, nosso povo teve suas cobiçadas terras confiscadas pelo governo e se tornaram párias de vários relatos históricos. A tese pergunta como um documentarista maori desta iwi (tribo) pode chegar ao luto e à injustiça de tal evento de maneiras culturalmente sensíveis, para contar a história do impacto geracional. A pesquisa considera quatro características distintas da abordagem do autor como um cineasta indígena. Whakapapa – genealogia– Em maori, o pensamento whakapapa conecta o realizador com o filme, os entrevistados e a comunidade. No entanto, as conexões do whakapapa carregam a responsabilidade de navegar na produção de filmes com respeito e cuidado. Whenua e whanau – terra e família – Metodologicamente, minha abordagem através da incorporação. Passo o tempo residindo e reconectando-me com minha família extensa e as terras em que vivemos. Eu ando, penso,ouço e sinto meu caminho através de um mundo complexo, buscando ativamente oportunidades de participar de wānanga (discussões) e apoiar kapa haka (artes performáticas maori) relacionadas à nossa terra e família. Minha posição é de humildade e cocriação. Estou ciente de que o rōpū (tripulação) com quem trabalho será chamado ao coração confiante de meu whanau. Assim, semanas antes do início da produção, convivemos com o mundo que o documentário busca registrar Tikanga – alfândega – O processo e as estruturas de fazer este filme permanecem cientes de tikanga Māori (costumes maori). Karakia e waiata (orações e canções maori) acompanham o processo de criação da obra. A grande tripulação maori está atenta aos protocolos e sensibilidades. Estas práticas também afirmam nosso rōpū (grupo) como uma família. Koha – reciprocidade – Ao contrário de muitas abordagens convencionais para a produção de documentários, onde os filmes são “filmados” de maneira econômica e eficiente, este projeto é baseado no conceito de koha (reciprocidade). As comunidades são entendidas como presenteando seu tempo e suas histórias e, em resposta, há os presentes do projeto de volta. Como artista, faço esforços conscientes para apoiar os iwi (tribos locais); repatriar conhecimentos e artefatos que localizo em minhas pesquisas, sendo um membro ativo dentro da cidade e apoiando iniciativas comunitárias. Como cineasta, sou membro de uma geração que foi cada vez mais afastada da história e da dor incorporada de meu whanau. Venho em busca de meu passado, em um esforço para compreender e contribuir com algo útil que apoie as aspirações e a agência do meu povo na obtenção de valor, cura e reparação histórica.
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Williams, Toiroa. "No hea koe? ¿De dónde eres?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.g114.

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Este artículo relata un viaje del proyecto de doctorado dirigido por la práctica del investigador, Tangohia mai te taura (“Toma esta soga”). El estudio implica investigar, dirigir y producir un documental sobre agravios históricos dentro de Te Whakatōhea y Te Whānau ā Mokomoko. Específicamente, explora el potencial de la práctica y la forma documental en relación con Mātauranga Māori (costumbres y conocimientos maoríes) y kaupapa Māori (enfoques de investigación maoríes). El estudio busca cuestionar ciertas narrativas construidas por Pākehā sobre el exotizado asesinato del misionero, el reverendo Carl Sylvius Völkner en 1885. Como consecuencia de una acusación de asesinato, mi antepasado Mokomoko fue arrestado por el crimen, encarcelado y ahorcado, mientras protestaba su inocencia. En represalia, a nuestro pueblo le confiscaron sus codiciadas tierras por parte del gobierno y se convirtieron en parias de múltiples relatos históricos. La tesis pregunta cómo un documentalista maorí de esta iwi (tribu) podría llegar al dolor y la injusticia de tal evento de maneras culturalmente sensibles, para contar la historia del impacto generacional. La investigación considera cuatro rasgos distintivos del enfoque del autor como cineasta indígena. WHAKAPAPA - GENEALOGÍA: En el pensamiento maorí, whakapapa conecta al realizador con la película, los entrevistados y la comunidad. Sin embargo, las conexiones de whakapapa conllevan la responsabilidad de navegar la realización de películas con respeto y cuidado. WHENUA y WHANAU - TIERRA Y FAMILIA: Metodológicamente mi enfoque a través de la encarnación. Paso tiempo viviendo y reconectando con mi familia extendida y las tierras en las que vivimos. Camino, pienso,escucho y siento mi camino a través de un mundo complejo, buscando activamente oportunidades para asistir a wānanga (discusiones) y apoyar las kapa haka (artes escénicas maoríes) relacionadas con nuestra tierra y nuestra familia. Mi posición es de humildad y cocreación. Soy consciente de que el rōpū (equipo) con el que trabajo será llamado al corazón confiado de mi whanau. Así, semanas antes de que comience la producción, vivimos con el mundo que el documental busca grabar. TIKANGA - ADUANAS: El proceso y las estructuras de realización de esta película siguen siendo conscientes de tikanga Māori (costumbres maoríes). Karakia y waiata (oraciones y canciones maoríes) acompañan el proceso de creación de la obra. La tripulación, en gran parte maorí, está atenta a los protocolos y sensibilidades. Estas prácticas también afirman nuestro rōpū (grupo) como familia. KOHA - RECIPROCACIÓN: A diferencia de muchos enfoques convencionales para la realización de documentales, donde las películas se “filman” de manera económica y eficiente, este proyecto se basa en el concepto de koha (reciprocidad). Se entiende que las comunidades regalan su tiempo e historias y, en respuesta, los regalos del proyecto regresan. Como artista, hago esfuerzos conscientes para apoyar a la iwi, repatriar conocimientos y artefactos que ubico en mi investigación, ser un miembro activo dentro de la ciudad y apoyar iniciativas comunitarias. Como cineasta, soy miembro de una generación que se ha ido alejando gradualmente de la historia y encarnado el dolor de mi whanau. Vengo a buscar mi pasado en un esfuerzo por comprender y contribuir con algo útil que apoye las aspiraciones y la capacidad de mi pueblo para lograr valor, curación y reparación histórica.
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6

Shao, Zhongxing. "Thermal Effect and Deficient Match of Wavelengths in CW Single Frequency Laser SHG." In Nonlinear Optics. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/nlo.1992.tud23.

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There are a number of work on CW intracavity SHG is reported(1-4). Some of them are single frequency operation. However the conversion efficiency P(2ω)/P2(ω) in Ref. 1, 2. and 3 is much lower, even an order of magnitude, than in theoretical evaluation as well as the fundamental beam waists focused on the doublers are thicker in most of the reports than in the optimum focusing parameter given by Ref. 5. In addition our previous work(6), a beta barium borate (BBC) was located at the auxiliary waist ωopt designed to satisfy the optimum focusing parameter inside a CW single frequency ring dye laser cavity, showed also low efficiency. To look into the reasons we redo the experiments and find out it is thermal effect and deficient match of wavelengths that to abate the efficiency, to make the harmonic power can not go very high as well.
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7

Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.
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8

Prozniak, Steven, Safia Moniz, and Jayden Mellsop. "Alternative design for the replacement Cambridge Pipe Bridge." In IABSE Congress, Christchurch 2021: Resilient technologies for sustainable infrastructure. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/christchurch.2021.0014.

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<p>The new Cambridge Pipe Bridge crosses the Waikato River just south of the historic Gaslight Theatre in Cambridge, NZ. The original pipe bridge was a three span truss bridge with a triangular cross section built from steel circular hollow sections and was constructed circa the early 1970s.</p><p>Waipa District Council is in the midst of a Wastewater Treatment Plant upgrade including new, larger diameter pipework which was proposed to cross the original bridge. As part of the project, strengthening of the existing bridge was designed to accommodate the increased pipe diameter.</p><p>Eastbridge and Holmes Consulting developed an alternative tender submission for the main contractor for the works, Fulton Hogan. The alternative design is a new network arch bridge that provides cost savings relative to the original strengthening scheme, a reduction in safety and environmental risks during construction, reduced maintenance costs, and increased seismic resilience for this critical piece of infrastructure.</p>
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9

Liu, Cun-liang, Hui-ren Zhu, Jiang-tao Bai, and Du-chun Xu. "Film Cooling Performance of Waist-Shaped Slot Holes." In ASME Turbo Expo 2010: Power for Land, Sea, and Air. ASMEDC, 2010. http://dx.doi.org/10.1115/gt2010-22237.

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Film cooling performance of a new shaped hole: waist-shaped slot hole is studied in this paper. Experimental measurement and numerical simulation are carried out to investigate the film cooling character and physics of this new shaped hole. And comparisons between the waist-shaped slot hole and two kinds of console holes are also performed. Both the cooling effectiveness distribution and the heat transfer coefficient distribution of the waist-shaped slot hole are similar with those of the console hole with large divergence angle because of the effect of the waist-shaped slot hole’s structure. The middle constriction structure of the waist-shaped slot hole and the coupled vortices make jets from the waist-shaped slot holes produce higher cooling effectiveness in the midspan region between adjacent holes. And also due to the effect of the middle constriction structure, the heat transfer coefficient of the waist-shaped slot hole is very high in the upstream midspan region. However, the heat transfer coefficient in the downstream midspan region is lower than that in the region near the hole centerline because of the effect of the coupled vortices. The waist-shaped slot holes provide the surface with very good thermal protection, especially in the upstream region. Although the console holes with small exit-entry area ratio provide better thermal protection than the waist-shaped slot holes due to small turbulence intensity, the flow resistance characteristic of the waist-shaped slot hole is much better.
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Thomson, Kirsten, and Mark Apperley. "The University of Waikato usability laboratory." In the Symposium. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/2331812.2331825.

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Reports on the topic "Waiata"

1

Quinby-Hunt, Mary S. Scoping Meeting Summary, Waimea, Hawai'i, March 16, 1992, 2 PM Session. Office of Scientific and Technical Information (OSTI), June 1992. http://dx.doi.org/10.2172/883155.

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2

Tokolahi, Ema, Shaz Bryant, Christine Higgins, Maraea Parangi, Verity Brown, and Nicola Birch. “We hear you” - Understanding the rangahau priorities for Whakaora Ngangahau in Waikato. Otago Polytechnic Press, 2023. http://dx.doi.org/10.34074/rsrp.230825.

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This is the final report for research into rangahau priorities for occupational therapy services in the Waikato, by Otago Polytechnic | Te Pūkenga and Te Whatu Ora, funded by the Health Research Council.
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3

Attiya, Hagit, Nancy Lynch, and Nir Shavit. Are Wait-Free Algorithms Fast. Fort Belvoir, VA: Defense Technical Information Center, March 1991. http://dx.doi.org/10.21236/ada232829.

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Braden, R. TIME-WAIT Assassination Hazards in TCP. RFC Editor, May 1992. http://dx.doi.org/10.17487/rfc1337.

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5

Seybold, Patricia. Don’t Wait to Extend Your Enterprise! Boston, MA: Patricia Seybold Group, January 2002. http://dx.doi.org/10.1571/psgp1-17-02cc.

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6

Jayanti, Prasad, Tushar D. Chandra, and Sam Toueg. Fault-Tolerant Wait-Free Shared Objects. Fort Belvoir, VA: Defense Technical Information Center, April 1992. http://dx.doi.org/10.21236/ada250303.

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7

Jayanti, Prasad, Tushar D. Chandra, and Sam Toueg. Fault-Tolerant Wait-Free Shared Objects. Fort Belvoir, VA: Defense Technical Information Center, August 1992. http://dx.doi.org/10.21236/ada255499.

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8

Liechti, Melanie, Massimo Menegon, Alexander Schurz, Nathanael Lutz, and Jan Taeymans. Association between pain intensity and body composition in adults with chronic low back pain: A Systematic Review and Meta-Analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2022. http://dx.doi.org/10.37766/inplasy2022.12.0064.

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Review question / Objective: Is there an association between pain intensity and body composition in chronic low back pain patients? Condition being studied: Evaluation of adults with chronic non-specific low back pain and the association between pain intensity and body composition, including measures of body mass index, waist circumference, waist hip ratio, fat mass, fat distribution or adipose tissue. Information sources: Pubmed, CINAHL, Embase, The Cochrane Library and Web of Science. Google Scholar will be used for grey literature. No trail registers will be screened.
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9

Bambade, P. Orthogonality of final waist corrections at the IP of the SLC. Office of Scientific and Technical Information (OSTI), October 1988. http://dx.doi.org/10.2172/6708046.

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10

Fryar, Cheryl D., Deanna Kruszon-Moran, Qiuping Gu, Margaret Carroll, and Cynthia L. Ogden. Mean body weight, height, waist circumference, and body mass index among children and adolescents : United States, 1999–2018. National Center for Health Statistics, August 2021. http://dx.doi.org/10.15620/cdc:107559.

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